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Middleton beyond the Canon
Full text linkThe traditional vision of Middleton as a playwright depicted him as an author of city comedies and tragicomedies, who in his very last years suddenly approached the tragic genre. Among his last four plays, three composed in succession are tragedies: Hengist, 1620, Women Beware Women, 1621 and The Changeling, 1622; the last two are recognized as masterpieces. In the last forty years, Middleton’s canon has changed with new attributions. This paper analyses the new pattern emerging in Middleton’s work with the insertion of the plays that have been attributed to him in the last few decades, remarking how tragedy is present throughout his career (A Yorkshire Tragedy in 1605, The Revenger’s Tragedy in 1606, The Bloody Banquet in 1609 and The Lady’s Tragedy in 1611). This sheds now light on his status as a playwright; in this paper, I try to analyse how the pattern of his female characters can be read with much richer insights considering the development of his tragic protagonists from 1605 to the end of his production.Traditionnellement, le dramaturge Middleton est représenté comme un auteur de comédies et de tragicomédies citadines qui se serait soudain tourné vers le genre tragique à la toute fin de sa vie. Trois de ses quatre dernières pièces sont des tragédies : Hengist, 1620, Women Beware Women (Femmes, gare aux femmes, 1621) et The Changeling (La Fausse Épouse, 1622), ces deux dernières étant reconnues comme des chefs-d’œuvre. Au cours des quarante dernières années, de nouvelles attributions sont venues s’ajouter au canon middletonien. Cet article analyse les reconfigurations de ce canon suite aux récentes attributions à Middleton de pièces qui témoignent de la présence constante de la tragédie tout au long de sa carrière (A Yorkshire Tragedy, 1605 ; The Revenger’s Tragedy [La Tragédie du vengeur], 1606 ; The Bloody Banquet, 1609 ; The Lady’s Tragedy, 1611) et invitent à voir sous un nouveau jour son activité de dramaturge. Le cas des personnages féminins, qui sont le sujet de cet article, permet de mieux comprendre le développement des personnages tragiques de Middleton entre 1605 et la fin de sa carrière
Pamela Bickley and Jenny Stevens, "Essential Shakespeare: The Arden Guide to Text and Interpretation"
No full textMichele Marrapodi, The Routledge Research Companion to Anglo-Italian Renaissance Literature and Culture
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Il testo instabile : saggi su Shakespeare e Middleton
No full textA collection of essays on Shakespeare and Middleton, in particular on modifications of their canon
About Apocrypha
No full textThis is an introduction to the problem of Shakespeare's apocrypha from the XVII century to nowaday
La Revenger's tragedy : dal testo alla trascrizione filmica
No full textThe paper is about Middleton's "Revenger's Tragedy", recently inserted in his canon, the film derived from it, and the light the film sheds on the play
Matt Haig: 'The dead fathers club'
No full textThe article deals with a novel by Matt Haig, a rewriting of 'Hamlet' from the point of view of a nine-year-old boy whose father died
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